Submitted by Jordan (jordanbiblio@gmail.com) on 2017-02-07T12:26:08Z No. of bitstreams: 1 DISS_2011_Mauricio Falchetti.pdf: 4674267 bytes, checksum: 0a4a53b76e34b1d64ef876449fcf8b82 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-02-07T12:52:23Z (GMT) No. of bitstreams: 1 DISS_2011_Mauricio Falchetti.pdf: 4674267 bytes, checksum: 0a4a53b76e34b1d64ef876449fcf8b82 (MD5) / Made available in DSpace on 2017-02-07T12:52:23Z (GMT). No. of bitstreams: 1 DISS_2011_Mauricio Falchetti.pdf: 4674267 bytes, checksum: 0a4a53b76e34b1d64ef876449fcf8b82 (MD5) Previous issue date: 2011-11-11 / CAPES / Esta pesquisa tem por objetivo observar o processo de interação entre fãs na internet que utilizam o site YouTube como ferramenta de compartilhamento de fan films. Uma parcela dos fãs não está mais interessada em consumir passivamente os produtos das grandes empresas de comunicação de massa, ela também quer produzir conteúdo, quer se tornar coautor da obra que admira. O foco desta pesquisa são os fan films veiculados no site de compartilhamento de vídeos YouTube, que dispõe de diversas ferramentas que incentivam a comunicação entre os usuários. A produção e divulgação das fan labors cresceu em função do desenvolvimento das novas tecnologias e da internet. Foram selecionados fan films baseados em livros e jogos de computador. Os mesmos foram analisados através das ferramentas de comentário e avaliação da própria plataforma do YouTube. As principais conclusões deste trabalho referem-se a forma e o conteúdo das discussões entre os fãs no YouTube, principalmente sobre o questionamento critico dos fãs à fidelidade do fan film em relação ao cânone. / This research aims to observe the interaction of fans who access YouTube for viewing and sharing videos such as fan films. A considerable number of fans is not satisfied in passively consume large media corporation products. They want to make something new based on the products of their admiration. This research will analyze fan films shared on YouTube, which has several tools to stimulate users’ interaction. Fan labors have been producing and sharing more since new internet technologies were developed. Fan films based on computer games and books were selected and analyzed using review and evaluation tools, available on YouTube platform. Conclusions concern basically the form and content of fans interaction on YouTube, specifically to fans fidelity regarding the original product.

The popularity of Taylor Swift has been growing rapidly on social media after the release of her ‘Midnights’ album on 21 October 2022. The lead single of the album, ‘Anti- Hero’ and the ‘Anti-Hero Challenge’ initiated by the singer inspired 17 thousand fans (Swifties) to share their own anti-heroic stories inspired by the song. The aim of the study is to examine the contribution of the Swifties online fan community to the ‘Anti-Hero Challenge’ on YouTube Shorts. The research interests revolve around Swifties’ prosumption practices in a dialogical relationship with the original music media material, the fan community, the platform, and the artist. The goal of the analysis is to demonstrate how Swifties use YouTube Shorts for both personal and communal expression by means of prosumption. Prosumption refers to the synchronous production and consumption of media content in the field of Media and Communication Studies (Zajc 2015:29). The thesis illustrates how online performances, interactions, and discussions nurtured by prosumption practices shape and maintain the Swifties fan community on YouTube Shorts. The study applies the Uses and Gratifications Theory and Netnography to scrutinize how Swifties reuse Taylor Swift’s song ‘Anti-Hero’ to make their own media products, and give each other feedback. The findings indicate that online fan prosumption and discussion practices not only foster entertaining, humorous, creative, and challenging self-expression but also provide pathways for communal exchange.  Swifties fan community members play a dual role in not only being active audiences and critics of ‘Anti-Hero’ but also of fellow fan prosumers. Swiftie prosumers and commenters of the ‘Anti-Hero Challenge’ videos also draw attention to controversial societal problems and call for change. The findings indicate the beginning of an era where the boundaries between music production and consumption dissolve. The thesis calls for further scientific inquiry into music fan communities’ prosumption practices online and offline.

Syftet med det här examensprojektet var att undersöka och diskutera hur fanidentiteten konstrueras och uttrycks av medlemmarna av fan communityn prince.org. Syftet med kortfilmsfilmmanuset var att sätta mig i kontext till hur fans framställs i film och TV och ge en mer mänsklig och underhållande bild av analysen.Det teoretiska perspektiv som arbetet utgått från är Cultural Studies där mediepubliken ses som aktiv med förmågan att vara kritisk.För att samla in data användes netnografi som metod, det vill säga etnografiska studier på Internet. Förutom observationer utfördes även intervjuer med sju medlemmar av prince.org. För att hitta en bra struktur för filmmanuset kombinerades Thurlows (2008) åtta punkter med Raskins (1998) fem parametrar.Resultaten av studien visar att fanidentiteten är komplex och att det inte går att ge ett enhetligt svar på frågan vad ett fan är. Även om en del akademiker starkt framhäver fandoms positiva sidor är det ändå problematiskt då även det kan vara stereotyperande och utesluta de fans som inte passar in. Problematiken återfinns även på prince.org där medlemmarna stereotyperar och har olika uppfattning om vad fanidentiteten innebär vilket ibland leder till kraftiga argumentationer. / The purpose of this examproject was to study and discuss how then fan identity was constructed and expressed by the members of the online fan community prince.org. The purpose of the practical work was to create a short film script in order to put my work in relation to how fans are pictured on film and television and to give a more concrete and entertaining picture of my analysis.The theoretical framework for this study was Cultural Studies where the media audience is seen as active and capable of criticism.Netnography, i.e. online ethnography, was the research method chosen for this project. A number of threads were being observed and seven members were interviewed. In order to give the film a good structure Thurlow's (2008) eight point guide was combined with Raskin's (1998) five parameters.The results of my study show that the fan identity is complex and that it is not possible to give one uniform answer to the question of what a fan is. Even if some academics strongly argue for the positive aspects of fandom, it is still problematic since even that is a way of stereotyping and excludes those that do not fit in. This problem is also found at prince.org where members stereotype and have different opinions about what it means to be a fan, something that sometimes leads to big arguments.

The following study aims to explore pupils’ attitudes toward fan fiction in a Swedish upper secondary ELT classroom in order to discuss the potential of fan fiction as a pedagogical resource. The aim is investigated through research questions concerning attitudes toward fan fiction as well as possible challenges and benefits in connection to how fan fiction could be included from a pupil perspective. The study was conducted through semi-structured interviews with 11 pupils attending English 5 or 6 in Swedish upper secondary schools. The collected data was processed through thematic analysis and examined with self-determination theory as a theoretical framework.  The results of the study reveal that the interviewed pupils exhibit positive attitudes toward including fan fiction as pedagogical material. In addition, the study indicates that fan fiction, according to the pupils, can be utilized to develop several language skills, such as grammar, vocabulary, and reading comprehension. With these learning outcomes in mind, the pupils mentioned that fan fiction could be incorporated into the classroom through productive and receptive tasks. Such tasks involve creating endings to narratives, providing and receiving feedback on creative writing projects, or reading fan fiction to complement and enhance the experience of a novel or film. Despite the positive learning outcomes, the pupils noted that possible challenges could regard finding appropriate content, assessing and grading creative assignments, and navigating creative demands. In conclusion, fan fiction may function as a potential pedagogical resource and therefore it is relevant to continue exploring the pedagogical potential of fan fiction in the Swedish ELT classroom.

本文試圖從歷時化的角度，說明清代番人分類體制形成的過程及對地方社會熟番社的作用。在康熙朝，官方的番社分類系統──「野番、土番」，是在賦稅認知下展開，並不具有文明化的概念；至康熙末年，對番人的分類稱謂才從「野番、土番」轉變至「生番、熟番」。此分類體系，至雍正朝逐漸產生變化。雍正3年（1725）生番歸化潮的終止，讓官員面臨如何在原本的「生、熟」分類體系中，安排界外納餉番社的問題，而在原分類中增添「歸化生番」類型。 進入乾隆朝以後，乾隆皇帝基於「國家統馭體制」（生、化在外，熟番在內），不願歸化生番移入界內，強制性地閉鎖番人之間身分屬性的流動。伴隨實體番界的強化，官員們開始以「番界內外」、「納稅與否」為標準區別番人，並將分類化約成「界內熟番、界外生番」，模糊了的化番角色。為了確立熟番類屬，官方開始制定一系列相應的熟番政策，形成所謂「熟番身分制」，且賦予番社行政性的「熟番特徵」。值得注意的是，乾隆朝的一系列熟番政策，表面看來似有規範個人身分的傾向，實際上仍以「番社」作為區別的單位，甚至在隘、屯等制度執行上，其員額與租額分配是以番社為單位，無形中強化了番社對番人的支配。 身分制的落實，維繫地方社會「熟番」與「漢民」的群體界線，也影響兩者互動的關係。在岸裡社群對於「水利、山林與土地」控制的例子可知，身分制的作用在不同時空環境下，皆有不同程度影響的展現。其中影響甚深之處，反是王朝支配權力薄弱的「番界邊區」。無論是山產交易或界外埔地的控制，熟番們皆利用身分制的保護，具有能動性進行策略選擇，甚至與他者競爭。不過，熟番社所競逐的利益，並未能雨露均霑，在部落階層化的前提下，大多數的利益集中在部落上層菁英手中。這也這也埋下19世紀熟番遷徙與身分轉換的誘因。 19世紀前期，熟番身分制發生轉變，隨著熟番遷徙、帝國版圖擴張，官方再度重啟「番人身分轉換」機制，提供生番、化番轉為熟番的可能性。進入光緒朝後，番人分類體制鬆動變得更加劇烈。在「番人教化觀」與「普天之下皆是赤民」的雙重概念前提下，沈葆楨等官員們主導的番政變革，將目光轉向山地的「生番」，並開始刻意讓原本清晰的番人類屬趨於混同。作為行政分類的「熟番」類屬，也正式消失於官方的番人分類框架。與之同時，成為「熟番」的部落開始經歷劇烈變動，岸裡社熟番為了生存，分別採取遷徙、隱匿身分於當地社會或改信基督教信仰等不同的生存策略。 然而，官方制定的「熟番、漢民」的人群類屬，僅停留在制度層面，未成為地方人群區分彼此的稱謂。熟番只有在面臨官方行政事務或區分生番族群時，行政性「熟」的特質才發揮作用。地方人群邊界的劃分，主要是來自族群性「番、人」之別。這樣的區別，並未受熟番身分制取消的影響，而依然維繫至改朝換代。終清一代維繫「番、人」這條隱形界線的機制，卻是熟番身分制與熟番族群性交互作用使然。因此，熟番社也以行政性「熟番特徵」、族群性「番人傳統」兩組符號，形塑我群邊界。 總結來說，本文認為所謂的「熟番身分」，不是帝國對番人文化表徵的分類觀，而是治理臺灣地方社會的統治制度。清官員將行政性的「熟」與族群性的「番」連結，符合熟特徵的人群，自然納入熟番的範疇。於此清廷治理下的「熟」番社不再具有血緣上的意義，人群藉由婚姻、收繼等關係進入番社，成為帝國統治下的熟番。身分制的落實，也讓熟番社更具有能動性的選擇與他者互動的策略，甚至與之競逐。一直到19世紀末因相應制度的崩解，才逐漸加速熟番身分符號的改變；番人從番社解析出來，開始走向一個由「番到人」的道路。 / The article try to use the historical approach to illustrate the process of the formation of the classification system of Fan aboriginals in Qing Dynasty and the influence on the Shu Fan（cooked aborigines） tribe in local society. The official way to separate Taiwan aboriginal as “Ye Fan”, “Tu Fan” was based on the tax payment in Kang Xi dynasty，but it transferred to “Sheng fan（raw aborigines）” , “Shu Fan（cooked aborigines）”in late of Kang Xi dynasty. The officer added the new type: “ naturalized Sheng fan” todescribe the Shu fan（cooked aborigines）who lives beyond the boundary but still pay tax after the end of the Sheng fan naturalization in Yong Zheng dynasty. Because of the “State - controlled system”, Emperor Qian Long wouldn’t move the naturalized Sheng fan into the boundary and locked the Fan’s identity compulsively.With the strengthen of the Aboriginal Boundary, the officer start to use “boundary” or “tax payment” as a standard to separate the Fan and reduce the category to Shu Fan inside the border or Sheng Fan outside the border. Then the officer used lots of systems for distinguish the type of Shu Fan to build the Shu Fan identity to shape of the administrative characteristics of the Shu fan tribe.This administrative identity system is based on tribe, not on individual person.However, the Shu Fan identity system collapsed slowly because the transferred of official system in 19th Century. Finally, Shu Fan , as an official administrative category, disappeared in the official document in late of 19th Century. The implement of identity system in middle of 18th Century maintained the ethnic border of Shu Fan and Han at local society, it also affected the way they communicated with each other. As an example: The An-li tribe try to control the waterpower, mountain and land, displayed the identity system had different influences in different situations.At the same time, Shu fan tribe began to experience dramatic changes, In order to Survive, the An-li tribe adopted different strategies such as migration, concealment in the local community, or conversion to Christian faith. However, the category of Shu Fan and Han from official position only stay at the administrative system level, it didn't become the way for local people to distinguish each other.Shu, as an administrative characteristic, just used at facing the official administrative work or separated Sheng Fan from themselves for Shu Fan. Fan and Han, as an ethnic characteristic, is the main way to distinct crowd at local.This kind of distinction did not affect by the abolishment of Shu Fan identity system, it still existed although the empire was replaced by a new one. The reason of this invisible border can be maintained in the whole Qing Dynasty is based on the Shu Fan’s interaction between the identity system and ethnicity.So, the tribe also used the Shu Fan as an administrative characteristic and aboriginal as an ethnic characteristic to build their ethnic border. In conclusion, what we talk about Shu fan（cooked aborigines） identity in Qing dynasty is not about the category of culture characteristic, is about the system to manage local society in Taiwan. The Qing officers combined the Shu of administrative characteristic and Fan of ethnic characteristic, the crowd who meets the characteristic of Shu would be classified as Shu Fan. So the Shu Fan tribe no longer had meaning of consanguinity in Qing dynasty, people become to Shu Fan by marriage or inherit into tribe. The implement of identity system made Shu Fan had more agency selection and strategy to communicate with others. The collapse of system make the symbol of identity change faster, Fan aboriginals was distilled from tribe and become to Han .

No description available.

No description available.

布袋戲於臺灣已近百年歷史，它勇於就地謀生，汲取民間養分、庶民文化之特質，將流行元素置於文本結構、角色人物當中，使其歷百年而不墜，隨時代變遷而演進更生。本研究以霹靂布袋戲迷為主體，探討霹靂布袋戲迷文化之生成，為何而迷，著迷之物，以及迷、偶、官方—霹靂國際多媒體三者之關係。戲偶對於布袋戲迷而言並非死物，它趨近「仿人」式的擬真動作，即便在形體、動作上有其限制，該限制卻同時為發展之契機。經由霹靂國際多媒體塑造之偶，經由布袋戲迷及官方對偶之想像，賦神於偶，使「它」→「他」，「偶」→「偶像」。「偶」作為迷與官方之間的關鍵連結，雙方對「偶」的想像使三者形成密切網絡，迷與官方之間因「偶」的作用導致關係複雜多變。霹靂布袋戲迷透過迷活動實踐過程，將無生命之「偶」賦予生命，予無情者有情。 / Glove puppet drama in Taiwan has a rich history around one hundred years. It is characterized by absorbing nutrition from folk and popular culture, and also integrates with popular elements into texts and structures. This feature helps puppet drama to live and improve with the wheel of time turning. This paper will focus on the issue of Pili-puppet drama fans, including the discussion of Pili-puppet drama fan culture, process of being fascinated by the “puppet”, and the relation between the three: fan, puppet, and Pili Multimedia Inc.. To Pili-fans, glove puppets are not inanimate objects however, they are idols with feelings. Though puppets are limited in doing some gestures, the limitation is the turing point on the contrary. Being structured by Pili Multimedia Inc., embraced with the imagination and fantasy by official organization and fans, puppets are empowered with spirits through transformation, the object “it” becomes “him/her”, “puppet” then becomes “idol”. The Pili puppet is a crucial element connected with fans and the producer. Moreover, the relation between fans and the producer is incredible complicated because of the “puppet”. Pili-fans empower the spirit on puppets with practice, making inanimate objects alive and with feelings, also.

The thesis looks at fan translation of fiction, a phenomenon that, unlike fan translation of anime and videogames, has been mostly overlooked by translation studies until recently. More specifically, we examine fan translations of Harry Potter books. The thesis aims to address a wide range of aspects pertaining to fan translation of fiction. In the opening chapters, it gives a brief overview of the history of fan translation in general and of research papers dedicated to the subject. Based on comparison with fan translations of anime and videogames, the thesis defines functions of fan translations of fiction in relation to official translations. The phenomenon of fan translation of fiction is then set in a wider context, one chapter detailing its relation to fan communities and one addressing the question of copyright. The nature of fan translations of fiction is further explored through comparison with official translations, which in this particular case focuses on Czech translations of Harry Potter books. First, we compare the translation process in case of both official and fan translations and then chosen extracts from the last book, Harry Potter and the Deathly Hallows. We also focus on differences between the collective fan translation and the fan translation done by an individual. We draw...

This thesis aims to explore how fans use social media to participate in activities relatedto the idol, and what is the level of participation of different fans in the fan group. Thisthesis used qualitative research methods – online observations and semi-structured indepth interviews to collect the empirical data, through focusing on the fan group of KrisWu. The theories of Jenkins and Carpentier are also applied to explore and describe theparticipatory practices of fans. By employing the theory of Jenkin’s participatoryculture to the first part of the analysis, the research results show that for the fans, socialmedia plays an important role in their participation, providing fans with a newenvironment to communicate and organize activities. Fan activities can be categorizedinto three major types: online consumption behaviors, fan text productions, and onlinesupporting activities. By applying the political and critical approach of participation, aswell as Carpentier’s four-level analytical model to the second part of the analysis, thisstudy finds that there are three sub-processes related to online fan communities – themanagement subprocess, the activity organization subprocess, and the subprocess oftext production and distribution. In each fan group, there are four different roles of fans– leaders, creators, supporters, and less active fans. Besides, through analyzing theidentities and decision-making moments, it can be said that although each fan isrelatively equal in the whole participatory process, there are still certain power relationsbetween each role of fans, especially in the process of fan group management.